DVD SALE RACK, BAYAMON, PR
AUGUST 14, 2015
“Are we locked out, or is the art locked in?” I ask Lillian. “It depends which side of the glass you are
standing on. For now, we are not getting inside,” she tells me. We came to Galeria Francisco Oller, on
the UPR Rio Piedras campus, to see Crescendo, an art installation by Elizam Escobar. With the doors
locked the only thing we can see is a pile of brochures inside the glass door, and a blurry view of
some of the images on the walls. The far end of the gallery is dominated by two larger than life size
photographs. The first shows Escobar when he was a much younger man, standing next to a small boy.
The other photo shows an older Escobar standing next to a man and an even older woman.
Not wanting our trip to be wasted effort, we visited Liberia Tertulia, where we purchased the new book by Nelson A. Denis, War Against All Puerto Ricans: Revolution and Terror in America's Colony. We learned that Denis would speak about his book at UPR the following day, and made plans to attend that discussion.
"The United States has a long and complex relationship with Puerto Rico that changes dramatically depending on who is telling the tale. Is America a friendly benefactor who brought economic development to an agricultural island? Or is the U.S. an oppressive ruler who capitalized on the island's fertile and inexpensive land, and cheap labor, to advance U.S. economic interests at the expense of Puerto Ricans, many of whom wanted independence after the oppressive rule of Spain." This quote comes from Betsy Kaplan of WNPR news radio in Hartford, CT. She recently interviewed Denis about the book and his investigations into the life of Pedro Albizu Campos, leader of the Nationalist Party of Puerto Rico, who devoted his entire life to seeking independence.
During the subsequent discussion by Denis we learned that he considers his book a work in
progress, telling one part of a complex and evolving story that exposes a suppressed, often hidden
history of the island's efforts to resist domination, and ongoing U.S. repression. He said the next step
for his book is translation into Spanish. The discussion became heated when a few students and one
historian challenged Denis on some specific facts. He was generous in his response, telling them that he
is author of a narrative and worked to be as accurate as possible, while reminding them that facts can
always be corrected. “What is important,” he says, “is the message to our youth, which they must
internalize. There are many opinions, but we should learn to speak as one voice if we are to be heard.”
Denis indicated the core of this book is a human appeal to an incredible story, not unlike the story told
by Dee Brown in his 1970 book, Bury My Heart at Wounded Knee, an account of injustice and the
betrayal of native American Indians by the U.S. government. Denis said Brown's book represents a
paradigm shift in people's perception of the plight of the American Indian and hoped that his own book
might provide the impetus for a similar shift in thinking – for Puerto Ricans about themselves and
popular opinion about the island and its people.
After the discussion, we returned to the Oller gallery to view the art installation by Elizam Escobar and
this time we were able to make a close and careful observation. Unlike other exhibitions of Escobar's
work that we have seen, this presents a detailed auto-biographical record of the lenghty time he was in prison in
the U.S., incarcerated as member of the Movimiento Clandestino Puertorriqueno, who were fighting for
independence.
The most striking and absorbing work in this installation is a series of 19 photographs, one for each of his years in U.S. federal prison, that show Escobar with his son in the visiting rooms of the various prisions where he was being held. In two instances his son was not able to visit, so Escobar has collaged two individual photos together. These may the most affective of all.
We were joined on our tour by Nelson Denis and he made a pointed and astute observation of this
group of photographs. “Look at Escobar's eyes,” he instructed us, “Notice how world-weary he appears.
Compare that to the life in the eyes of his son.” As you look at these photos and their history of time's
passage, you watch the son grow from a boy to a man. At the end, in 1999, he is nearly the same age as
Escobar at the beginning in of his incarceration in 1981. As Denis pointed out, a certain weariness seems to have crept into
the son's eyes as well, as his knowledge of the world and his awareness of his place in it grows along
with him.
Crescendo represents a gradual but steady increase in volume or intensity, usually in sound and often culminating in an especially loud noise or crash. Escobar considers his installation a visible record of the passage of time, and it is easy to imagine those 19 years building in intensity.
According to the account by Denis in his book War Against All Puerto Ricans, the abuse of the island
of Puerto Rico started early, in 1493 under Spanish rule, followed in 1898 by the U.S. government's
annexation of the island after the Spanish-American war. The leader of the Nationalist Party and his supporters felt
that crescendo which climaxed in the last days of October, 1950 when they led an armed insurrection
against the U.S. government. As Denis says, this story is still being written.
The Jayuya Revolt or El Grito de Jayuya, was a Nationalist insurrection that took place on October 30, 1950
Elizam Escobar experienced a crescendo which may have started even before his arrest in 1981, but
continued its increase in intensity until he was released from prison and he returned to the island.
One can read the culmination in his eyes, the eyes of his son, and the eyes of his mother in the large
photograph that dominates the wall at the far end of the gallery, showing them together September 10,
1999, the day of his release.
(left) FBI document from book by Nelson A. Denis (right) Albizu Campos, painting by Elizam Escobar
While living on Wilbur St. my 1963 Dodge Town and Country Panel Truck was all turquoise before it gained a rebuilt engine and white paint during the course of restoration. (noted and corrected)
What was that wonderful hotel we walked through in Old San Juan? (El Convento)
What was the name of that area where we walked around newly-restored buildings and listened to loud music in the Park? (Ocean Park east)
The train and the station with Antonio Muntadas' pictures of Jack Delano's photographs was a great way to experience a way out of the city and into the suburbs without being on a commuter highway. (San Juan to Bayamon elevated commuter train. This article references Muntadas' installation at Roosevelt station -- http://janguarte.posthaven.com/fair-use-or-fair-game-art-in-the-internet-age )
What was the name of that lovely bakery where we had our final breakfast? (Kasalta, in Ocean Park)
And that cool place on the mountaintop where we went with Lillian, Peter and Betty? (Hacienda Calichi in Naranjito)
And that outstanding restaurant in town? (La Princesa on paseo La Princesa in Old San Juan)
While at the Rhinebeck car show, I found a DeSoto collector and learned that the DeSoto we fell in love with is fully Dodge, but was sold in Latin America and other parts of the world branded as De Soto. That type of thing happened often with Mopars: Low-end Chryslers were sold in Norway branded as Plymouths, etc.
Last night @ 11:11 pm while watching Burning (Hangul: 버닝; RR: Beoning) the 2018 South Korean psychological drama mystery film directed, produced and co-written by Lee Chang-dong, I was struck by a scene with a gigantic blowup of Roy Lichtenstein's art on the wall of the restaurant (screenshot below) ...
This morning @ 5:55 am I received this email from ArtNet auctions (screenshot below) ...
photo: Jan Galligan (left) and Lillian Mulero (right) at Ocean Park Beach, San Juan, PR, 6/8/18
Nine months post hurricane Maria, sixth months after our return following a much needed exile to the mainland, we find signs of the quasi-idyll that characterized our life on the island pre-storm. Many scars and disruptions abound, some parts of the island suffered much worse than our sheltered valley. Lots of work remains and most of us are now preparing for this year's impending hurricane season. Still, it's nice -- and it's helpful -- to get out on an especially fine day.
]]>
6:18 AM Thursday, September 21, 2017, Santa Olaya, Bayamon, PR, photo by Jan Galligan
The morning after hurricane Maria had passed over the island and our house in Santa Olaya, a small barrio located in the countryside south of Bayamon, we opened the door for the first time thinking to walk around the property and inspect the damage. We were met with this spectacular view, and we marveled at how that cloud, backlit by the rising sun -- looked exactly like the island of Puerto Rico. Was this a harbinger, or an omen? Only time could tell...
posted by Jan Galligan & Lillian Mulero
temporarily in New Orleans, LA
Sunday, November 26, 2017
Next time, I'll try Uber.
THE NEW YORK TIMES, By Matt Flegenheimer
MAY 31, 2017
The state of our union was … covfefe.
The trouble began, as it so often does, on Twitter, in the early minutes of Wednesday morning. Mr. Trump had something to say. Kind of.
“Despite the constant negative press covfefe,” the Twitter post began, at 12:06 a.m., from @realDonaldTrump, the irrepressible internal monologue of his presidency.
And that was that.
DATELINE: PUERTO RICO
Prepared for the eclipse with: Clestron 2X power Sun and Eclipse Observing Kit, notepad and pen, Barrilito.
READYMADE-ADJUSTED -- postcard, purchased @ Devil's Lake, WI
]]>
Wisconsin: cheese curds, beer, cheese nerds
THURSDAY, AUGUST 03, 2017 - KENOSHA, WI
Amazon announced 1500 job openings at their new distribution warehouse in Kenosha. Job fairs and hiring seminars are taking place all week in the new manufacturing, shipping and receiving and light industry park on the western outskirts of the city.. Rumors say that the recently announced impending construction of a large screen television manufacturing facility by Taiwanese electronics giant Foxconn Technology Group could likely be located in Kenosha, next to Amazon,
UPDATE: MONDAY, AUGUST 07, 2017 - KENOSHA, WI
Possible future site of Foxconn manufacturing facility (right) and Welcome to Kenosha sign (left)
"Let's go to the beach," says Lillian
"O.K.!" replies Jan
The website for my son's interactive branding studio SWINK says they are "conveniently located" and their location demonstrates that, quite clearly ...
sign, carr 829, near Santa Olaya, PR
Kenosha, WI boyhood homes of Irving Wallace, Don Ameche, Orson Welles & Jan Galligan.
Three photographs by Jan Galligan, 1975. Fourth photo (lower right corner) by Robert Sietsema
with Chuck Patch, also 1975.
At the LHOOQ rooftop party -- credits: surprise and Picasso drawings, Lillian Mulero; fire dance, Maria de Azua; cello accompaniment, Juan Verdera; photos, Betty Kaplan and Hector Mendez Caratini; Duchamp mask printouts Jonathan of O Mart presentation services, Bayamon, PR.
At the LSMFT dinner -- credits: Vito of L'Osteria Decanter bistro, Old San Juan, PR and Lillian (LSMFT) -- Lillian Shows Me Fun Times.
(left to right: Lillian, Peter, Nereida, Annette, Juan, Maria, Jan, Betty, Hector) photo by Vito of L'Osteria.
]]>12:01 AM today marks the 20th anniversary of the presentation of 50 YEARS IN 50 MINUTES, an autobiographical collage of film, video, photos and music, screened at the Spectrum Theater in Albany, NY. With video assistance by Michael Oatman and music soundtrack by J.C. Garrett, it featured a short lecture by the late Dr. John Galivan, biomedical scientist and raconteur.
With a nod to that event, today we present 70 YEARS IN 7 SECONDS, an annotated slide show.
Photos include:
11 - Public School, 6th grade, Fremont, OH, 1958
18 - "Portrait of my dad in high school" by Lydia Mulero, 1997
25 - Working at Institute for Enzyme Research, Madison, WI, 1972
30 - Mail Art collage for Ray Johnson, Albany, NY, 1977
33 - NOTHING UP MY SLEEVE, Albany, NY 1980
39 - On vacation with Lillian, Vieques, PR 1986, photo by Lydia (not)
42 - Year of the Cornucopia, Albany, NY 1989
52 - With my mother on her 70th birthday, Kenosha, WI 1999
60 - With Lillian's father on the Hudson River, 2007
66 - With Lillian, at that party in San Juan, PR 2013
68 - With Lillian at Lydia's house in New Orleans 2015
69 - Portrait, by Lillian, at Punta Salinas beach, Bayamon, PR 2016
Rio Hondo mall, Bayamon, PR -- photo by Lillian Mulero, concept by Jan Galligan
Staples, store-wide sale, Bayamon, PR
]]>
NOUN
1 [noun] The right to vote in political elections.
example: ‘universal adult suffrage’
[as modifier] ‘the women's suffrage movement’
1.1 archaic [noun] A vote given in assent to a proposal or in favour of the election of a particular person.
‘the suffrages of the community’
]]>by Jan Galligan &
Lillian Mulero
"Celebrity distorts democracy by giving the rich, beautiful, and famous more authority than they deserve," says Maureen Dowd. Her new book, The Year of Voting Dangerously: The Derangement of American Politics will be released on Sept. 13.
While serving as cultural correspondents at the 2016 San Juan International Film Festival, we received an invitation to attend a Conversatorio at the Conservatorio, a talk between Maureen Dowd, political columnist for the New York Times, called by some “the most dangerous columnist in America,” and New York Times congressional reporter and Washington D.C. bureau chief, Carl Hulse, known by the nickname “The Senator.” We decided to skip the closing ceremonies of the Film Festival in favor of attending the talk, billed as a discussion on the 2016 Presidential election – Clinton vs. Trump.
Arriving early we milled
around the lobby and noticed a well-heeled crowd, people who
obviously read the New York Times. One table at the reception area
was filled with small receiver and headphone sets for simultaneous
translation, but few people were picking those up. We grabbed a
couple of index cards in order to prepare our question for the
audience participation section of the presentation, and found a seat
in the middle of the auditorium. Lillian spotted Geraldo Rivera
sitting a few rows in front of us, closer to the stage.
Dowd introduced herself by
reading what might have been one of her Times columns, talking about
Clinton, Trump, the election and the general sense of craziness that
currently prevails. She told an anecdote about meeting privately
with president Obama, thinking he was going to give her an scoop or
some inside information. Instead, he told her to her face just how
annoying her found her. Hulse, gave an extemporaneous presentation of
his experiences among the senators in D.C., and then told a lengthy
anecdote about being invited to the White House to watch a Chicago
Bears football game with president Obama, both Hulse and Obama being
natives of Illinois and fanatic supporters of the Bears. That time
the Bears were thoroughly trounced by the Packers. The story,
intended an amusing encounter with the president, fell flat – as
most of the audience had no knowledge or interest in American
football. Both Dowd and Hulse seemed to favor Clinton in her contest
against Trump and their analysis suggests that she has a good chance
to prevail in November. Dowd characterized Trump as a clinical
narcissist who is running his campaign on a moment to moment basis,
unplanned, seemingly spontaneous, and subject to the ups and downs of
the news cycle. Hulse said that there is no doubt that Trump wants to
win; the question being what will he do if he doesn't. Both Hulse and
Dowd related a lunch they attended last June at Trump's invitation,
held in the Trump Tower dining hall. Over plates of meatballs and
spaghetti (“which Trump barely touched,” said Hulse) they
discussed his problems with the Republican party and other issues of
the moment. They said that they were surprised to find him to be both
friendly and solicitous in person. Characterizing Clinton, they both
agreed that despite her cool, wonkish public persona, in private they
said in unison, “she is a hoot.”
When the time came for
questions from the audience, we handed in our card and waited to see
if it would make the cut. There was just time for a handful of
audience inquiries. They mostly dealt with questions about the two
candidates, their chances, and possible post-election scenarios. Our
question, which turned out to be the last one of the night and the
only question specific to current affairs here on the island,
concerned the political and economic future of Puerto Rico. Knowing Geraldo Rivera would be listening, we had asked:
Can you speculate on the PROMESA process, politically and
economically? What might be the outcome by the time of the 2020
presidential election? Dowd deferred to Hulse for the response,
saying she had given him responsibility to be ready for such a
question. He said that he had actually followed the issue closely in
discussions with congressmen involved in the legislation that
established PROMESA. He gave a carefully worded explanation that he
appreciated the sensitivity of the issue to the people of the island,
calling it the “third-rail” issue of the moment. He explained
that he lived in D.C. when a fiscal control board was appointed by
Congress to oversee the capital city fiscal crisis of the late 1990s.
He contended that however painful the process, the outcome for the
city had been positive and that by 2001 the city had completed four
consecutive years of balanced budget. He said he hoped for a similar
outcome for Puerto Rico in the near future.
Chapter ONE
Berty zepravy, takove jake jsou (Accept the information at face value)
11.11.01
- 12:12PM
Ruzne
Airport, Prague
Gate
32, Flight OK050
Departure:
12:35PM
Prague
to JFK
Settling into my seat, I check my notepad, a 4x5 paperback notebook that I picked up in a corner store, my first day in Prague, in which I've written down everything I've done, or needed to do over the past ten days. On the page headed Sobota (Saturday) Listopad (November) 10, I'd written "CSA Airlines, Praha to JFK, 1:30PM."
This
is typical. For some reason I always miscalculate departure times.
Just ask my daughter Lydia. London to JFK, San Juan
to JFK, Paris to JFK. JFK to Chicago. The list goes on. Luckily,
I'd given Steve a copy of my itinerary last night, for safe keeping
and true to his word, he came to pick me up 20 minutes before the time we actually needed to leave for the
airport. That gave
us time to drive past Fred&Ginger, Frank Gehry's signature
building on the banks of the Vltava River just south of the new,
Stare Mesto, part of the old, Nove Mesto, section of Prague.
We
pulled Steve's Skoda four-door wagon into the first available parking spot
and I jumped out and ran across Rasinovo street to get a good prospect
on the building. The sun was streaming in from behind, which put
the structure into an interesting silhouette, the sun shining through the
glass crown on Fred's head. Snip, snap. A few quick grab shots of the
river, swans, the tram and some of the 11th century buildings
surrounding Gehry's
fantastic modernist construction, then we were back on the main street
headed north to the airport. Cruising past Karluv most (Charles
Bridge), we
drove across Manusev most, one of the main bridges, and climbed a hill
which is surmounted by Prazsky hrad (Prague Castle) and I made some pictures
out the window. Turning around, I was able to get good pictures of Prasna
vez Mihulka (the Powder Tower), Petrinska rozhledna (Petrin Tower), Staromestska
mostecka vez (the Old Town Bridge Tower), Chram Matky Bozi vez, (the
towers of the Church of Our Lady before Tyn), Novomestska radnice
vez, (the
tower of New Town Hall), and finally Katdrala sv. Vita, Vaclava a
Vojtecha (St.
Vitus, St. Wenceslas and St. Adalbert Cathedral) off in the distance.
Unfortunately,
it was a whirlwind tour, but fortunately, I did see everything with
enough time to spare and arrived at the airport thirty minutes early.
Hardly like the Albany Airport, where I arrived two-hours and forty minutes
early because when I called to ask, they told me I needed to be there
three hours before departure to insure that I cleared all of the necessary
requirements for international travel in these times of heightened 9/11 security.
Lillian
got me there early and then it took just eleven minutes to check in, so
I had a few hours to kill. Luckily, Sharon was working in the airport gallery,
so I hung out and helped her proof-read the text for her upcoming
exhibition of wacko collections that people in the Capital District, many
of them artist friends, have assembled over the years:
toy trucks, weather vanes, old trains, doll clothes, wooden dinosaurs,
etc. Everything representing one or another obsession on the part of
the collectors.
Chapter TWO
Prvni dousek povzbudichut na celou lahev.(A first sip whets the appetite for the whole bottle)
"Excuse me, I think that is my seat."
I am shaken from my reverie by a petite woman in her mid forties, with close cropped hair. I've got my stuff all over her seat, next to me.
"Pardon."
I reply, "I'll move this right away."
"Nei
problem," she says.
I take my drink from her tray table, grab my stuff and she sits
down next to me.
"It's
certainly a beautiful day out today," I tell her.
"Yes it is, and it's been beautiful the entire ten days I've been in Prague," she says. "Except for yesterday and the night before, when it was rather cold. In fact," she continues, "yesterday I saw snow."
"You
did?"
"Yes," she says, "not a lot, but definitely snow, on the ground, near my brother's house where I was visiting, on the outskirts of Prague."
"I saw snow myself yesterday and I really froze my butt," I reply.
"How's that?"
"I was on the top of the Prague TV Tower, the tallest structure in the city, on a hill in the Jarlslov district."
"Yes,
I know it," she say, "but what were you doing there, having
dinner."
"Nei," I answer, "I wasn't inside the observatory, I was outside, on the roof, taking photographs."
"You're a photographer?"
"Right, that's why I was in Prague, to do some photography. Anyhow, I'm out on the roof on a small platform which has a one foot high perimeter wall around it, leaning over the edge, trying to get the best birds-eye-views of the city, and trying not to loose my balance, when my foot slipped and I found myself sliding on some snow."
"That sounds dangerous," she says.
"I suppose, but sometimes you've have to go to the edge for your art."
"You're an artist?"
"Of a sort," I tell her. "I do photography, installations of pictures and other objects, make constructions, and try to put as much of it as possible on my website."
"The web is great, isn't it?" she says.
"For me, sure."
"No, really," she says, "I got my tickets for Prague using the web. Jan, my ex-husband, got me the tickets by using an on-line auction. You go there, pick your destination, and then make an offer on the tickets. Just for fun I offered $50 for Prague, but of course it was rejected, so I just kept upping my bid by $100, until finally, for $450, I got the tickets. Of course you don't know until you confirm your bid, which airline you'll be flying. As you can see, I got Czech Airlines, but they're good. Well, they're better now, than they were ten years ago, the last time I flew home."
Chapter THREE
Musel Jsem pres vedcit tatu, aby souhlasil vice za vzdelani. (I had to twist my dad's arm to get him to agree to pay for more education.)
"You're from Prague?" I ask.
"Yes, I was born here, in Liben, across the river from Holesevice. I left Prague in the 70's with my husband, now my ex-husband, to get away from the repressive government of those days. We moved to Texas and then to Chicago, which has a large Czech population, I lived on Kedzie and Cermak."
"I know the area," I tell her.
"Yes?"
"I went to art school in Chicago, in the 70's. The American Academy of Art, downtown, beneath the "EL"."
"You mean that beautiful elevated subway. It looks alot like the trams of Prague except the tracks are way up above the street," she says.
"How did you end up in Chicago?"
"I was raised in Kenosha, in Wisconsin, north of Chicago, and when I graduated high school, I chose to move to Chicago."
"I've been to Kenosha," she says.
"You have?"
Excerpted from the book: NUDNY NOVINY by Jan Galligan, 2002.
Third in the series: GALLIGANSTRAVAILS, a guide for the common traveler
Volume One: PARIS, Chronique Enneuysis, 1995 (click to view)
Volume Two: MADRID, Chronica Aburrida, 2000 (click to view)
FULL STORY HERE (click crossed-arrows for full screen view)
[INCLUDES MANY PHOTOS AS REFERENCED IN THE STORY]
LINK TO EXHIBITION AND BACKGROUND HERE
... KEEP TRYING UNTIL YOU GET IT RIGHT.
SOME BACKGROUND HERE and FOREGROUND HERE ...
Return to @75GRAND
]]>
Goodbye 20th Century: A Biography of Sonic Youth
by David Browne
1-10 of 20 pages with references to Richard Edson:
1. on Page 3:
"... "There was nothing sacred, and anything that was perceived as sacred had to be reduced," recalls Richard Edson, a musician who arrived in the city (from Albany [ed.]) during this time. "It was the beginning of a whole 35 ..."
2. on Page 16:
"... didn't actually know that many-except for one they'd seen playing around and hanging about A's. Like Gordon and Moore, Richard Edson had arrived in the city fairly recently-in his case, ..."
3. on Page 17:
"... guitars and keyboard, and almost immediately, Moore began playing his instrument at top volume. "I was like, Well, that's interesting,"' Edson recalls. "No warming up here. ..."
4. on Page 18:
"... GOODBYE 20TH CENTURY With Edson behind the drums, the new band played its first two shows as Sonic Youth, one on May 8 at Club ..."
5. on Page 21:
"... The Noise Festival would be the last of those, and Edson himself was on the way out. "The scene was just too straight and too white and too middle class, so ..."
6. on Page 38:
"... for it, they would need a drummer to firm up their sound. Without many options, they reached out to Richard Edson, who decided to return to the fold: "I remembered it fondly enough," he says. ..."
7. on Page 39:
"... and more dreamlike and expansive, on another wordless performance, "Where the Red Fern Grows." During rehearsals, Edson had ridden the band particularly hard on another partly developed song, "The Burning Spear. ..."
8. on Page 41:
"... stores encircling the battered Union Square Park, 14th Street was, as Richard Edson puts it, "the northern demarcation. It was a wasteland above that. ..."
9. on Page 42:
"... GOODBYE 20TH CENTURY were able to lay down rough takes of some of the songs they'd worked up with Edson, but the experience was so unsatisfactory that, except for a recording of "Where the Red Fern Grows" that would be ..."
10. on Page 45:
"... An even more obscure East Village reference point was embedded on the cover: Edson folded his hands on the cover in imitation of a Jesus statue he'd walked by on the way to the ..."
11. on Page 46:
"... like James Brown drummers, soft and so deep into a groove and hoping everyone else would approach it that way," Edson recalls.) Both the rhythms and the guitars intensified on the next track, "I Don't Want to Push It," but minimalism ..."
12. on Page 47:
"... " As Coleman also learned, Edson was no longer a member of Sonic Youth. Edson's commitment to the band had been shaky from the start; he'd ..."
13. on Page 48:
"... GOODBYE 20TH CENTURY To the three of them, Edson's announcement came as a jolt and an inevitability. During rehearsals, Ranaldo would often see Edson with his fingers in his ..."
14. on Page 50:
"... when it was released, shortly before he spotted their flier. He'd already seen several of their shows, including one with Edson, and was astounded by how long they took between songs-hours, ..."
15. on Page 59:
"... " Adopting hard-boiled urban identities was not unusual on the scene: For a while, Richard Edson referred to himself as "R. Smith" during Sonic Youth shows and put up a sign on his apartment door that ..."
16. on Page 60:
"... Finally, Moore and Lunch met by way of their mutual friend Edson, who lived across the street from Lunch. By then, Sonic Youth had formed, and Lunch approached Moore with the idea ..."
17. on Page 98:
"... a larger, more complex issue reared its head. Bert had stayed with the band far longer than his predecessors Richard Edson and Jim Sclavunos, ..."
18. on Page 171:
"... Richard Edson during his second tenure in Sonic Youth, Danceteria, New York, 1982. (Photo by Catherine Ceresole) ..."
19. from Back Matter:
"... Former mem- bers David Keay, Richard Edson, Bob Bert, Tom Recchion, Jim Sclavunos, and Jim O'Rourke graciously sat down with me (or let me hound them over ..."
SOME BACKGROUND HERE and FOREGROUND HERE ...
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